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1	"Et in Arcadia ego" : En konstvetenskaplig studie av Arkadien i bildmotiv / "Et in Arcadia ego" : An art science study of Arcadia in pictorial motifs Kronberg, Tove January 2024 (has links) This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs. Arcadia landscape painting pastoral semiotics symbolism memento mori vanitas Nicolas Poussin Guercino Claude Lorrain François Nomé Thomas Blanchet 17th century Nationalmuseum Arcadia - a paradise lost? Arkadien landskapsmåleri pastoralen pastoral semiotik symbolism memento mori vanitas Nicolas Poussin Guercino Claude Lorrain Francois Nome Thomas Blanchet 1600-tal Nationalmuseum Arkadien - ett förlorat paradis? Art History Konstvetenskap
2	A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI Shaw, Rayford Wesley 06 1900 (has links) The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil. Aeneid cycles Apollonio (di Giovanni) Cameos and snapshots Cinematic progression Claude (Lorrain) Cyclops Fama Flight from Troy History painters Laocoon Perino (del Vaga) Poussin (Nicolas) Symbolic imagery Turner (JMW) Vergilian landscape Vrancx (Sebastiaen) Wooden horse 704.947 Virgil Aenis -- Literary style Apollonio di Giovanni History in art Classical literature -- Themes, motives Aeneas (Legendary character) -- Art
3	A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI Shaw, Rayford Wesley 06 1900 (has links) The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil. Aeneid cycles Apollonio (di Giovanni) Cameos and snapshots Cinematic progression Claude (Lorrain) Cyclops Fama Flight from Troy History painters Laocoon Perino (del Vaga) Poussin (Nicolas) Symbolic imagery Turner (JMW) Vergilian landscape Vrancx (Sebastiaen) Wooden horse 704.947 Virgil Aenis -- Literary style Apollonio di Giovanni History in art Classical literature -- Themes, motives Aeneas (Legendary character) -- Art

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